March 5 - May 8, 2010
The Schneider Gallery is pleased to present the work of two young artists, Guillermo Srodek-Hart and Kevin Malella, who have recently earned their Masters of Fine Arts, and have been actively working and exhibiting. These promising artists are interested in places, though for different reason and with different result.
Srodek-Hart is drawn to collection and accumulation; at times the assemblage is a shop, and at others a roadside or in-home shrines. All his captured scenes are from rural Argentina. He brings us images of a rustic carpenter’s shop, a cobbler’s workbench under a mountain of worn soles, a butcher shop with meat on hooks and displayed raw on countertops. The shrines range from tidy to cluttered. Those on the roadside are overrun with offerings. Faith, superstition, or legend the stories that accompany these seemingly spontaneous collections give insight into the popular culture of the Argentineans.
Malella’s Constructed Landscapes unveil the relationship between industry and landscape. A factory disrupts a wetland scene, a billowing smoke stack breaks clear blue sky, a nuclear cooling tower towers over a field of golden wheat. Malella draws from the documentary tradition, but integrates frames and vantage of multiple shots into a single panoramic view. His technique heightens the intersection of artificial and organic. The series title, Constructed Landscape, is clever, as it points reference to both the means of production and the intrusion of man on nature.
Srodek-Hart is drawn to collection and accumulation; at times the assemblage is a shop, and at others a roadside or in-home shrines. All his captured scenes are from rural Argentina. He brings us images of a rustic carpenter’s shop, a cobbler’s workbench under a mountain of worn soles, a butcher shop with meat on hooks and displayed raw on countertops. The shrines range from tidy to cluttered. Those on the roadside are overrun with offerings. Faith, superstition, or legend the stories that accompany these seemingly spontaneous collections give insight into the popular culture of the Argentineans.
Malella’s Constructed Landscapes unveil the relationship between industry and landscape. A factory disrupts a wetland scene, a billowing smoke stack breaks clear blue sky, a nuclear cooling tower towers over a field of golden wheat. Malella draws from the documentary tradition, but integrates frames and vantage of multiple shots into a single panoramic view. His technique heightens the intersection of artificial and organic. The series title, Constructed Landscape, is clever, as it points reference to both the means of production and the intrusion of man on nature.
Kevin Malella: A Constructed Landscape
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